Episode 146 - No Doubt - Tragic Kingdom - Part 1

[00:00:00] Speaker A: Foreign. [00:00:05] Speaker B: This is our musical reaction breakdown and commentary analysis of this song. Under Fair Use, we intend no copyright infringement and this is not a replacement for listening to the artist's music. The content made available on this podcast is for educational and informational purposes only, notwithstanding a copyright owner's rights under the Copyright Act. Section 107 of the Copyright act allows limited use of copyrighted material without requiring permission from the rights holders for purposes such as education, criticism, comment, news, reporting, teaching, scholarship, and research. These so called fair uses are permitted even if the use of the work would otherwise be infringing. Now onto the Rock Roulette Podcast. [00:01:03] Speaker A: Foreign. [00:01:14] Speaker C: Hey everybody, welcome back to another episode of rock roulette podcast. That's right, the crazy ass podcast. It took over 1, 500 albums. Stuck them in a list, stuck them in a wheel and typically every other week we spin the wheel. She picks a record for us and we go through a track by track and we talk about the music production, lyrics, melody and arrangement. We give it scores. Again, just a bunch of friends who love music want to do a podcast. As always, anybody who's listening, we really appreciate it. We know we got some funky albums out there. But hey, the Wheel picks what she wants to pick. Tonight we are threesome again. We've got Frank. My name is Frank and I'm Sexy. [00:02:02] Speaker D: Hello everybody. [00:02:03] Speaker C: We got Mark. Oh hi Mark. [00:02:05] Speaker B: What's up guys? [00:02:06] Speaker C: And I'm Seth. [00:02:07] Speaker B: Ciao, buena Sira. [00:02:08] Speaker C: Last week we wrapped up the album that had probably the lowest scores ever on this podcast. I'm pretty sure that if anybody said going into it, even though I definitely knew of it, that a collaboration between Jimmy Page and Paul Rogers would get the lowest scores ever on this. We'd probably all be shocked. The Firm by the Firm, which was their first album, they only made two as far as we know. We mentioned it too. No matter who is in that group, even though it was a superstar group, even on the bass and drums, I don't know, we just couldn't get into it. We liked one song and even the Zeppelin leftover just felt kind of sloppy and messy and unfortunately the lowest scores ever on this. Right, Mark? [00:02:48] Speaker B: Yeah, those things are pretty low. Unfortunately. I don't think I can separate myself from Jimmy Page and Paul Rogers and what should have been there and what it ended up being. The second one is on the Wheel. Maybe one day we'll get the second one. Maybe it's different, maybe it's better. I don't know. It was a disappointment, I think for everyone. [00:03:04] Speaker C: I mean vocally, you can't separate him. His voice is his voice, so, you know, it's him. Obviously, he's got a good voice. This has nothing to do with musicianship. I think it just has to do with songwriting. And I know we talked about it. I don't know a lot of the story behind it, but I'm assuming this was the album they wanted to make when they went on tour. As far as I read, they did no Zeppelin or Bad Company music. This is like, hey, this is what it is. So you either like it or don't like it, and it pops up. We've seen mixed reviews, views. Some people love it, some people don't like it. Obviously, we were in that camp recently. Came up in some hidden gem videos I saw on YouTube. I don't know, man. Frank, what do you think? You gave it some rough scores, too. [00:03:41] Speaker D: It was definitely a rough listen. Definitely not something I was expecting from that lineup right down to the remake of the Eilee Brothers. That Loving. Oh, that was really tough to listen to. Hey, listen. It was something that they wanted to experiment with, and they felt they hit a home run then, you know, that's great. But it definitely wasn't something I'll be listening to anytime soon. [00:03:59] Speaker C: Agreed. Now that we've cleansed ourselves of that, obviously we get to spin the wheel again tonight, which is always exciting. Before we do that, we get to spin the baby wheel and listen to something fresh. So, Mark, whenever you're ready. In a world where new music is. [00:04:16] Speaker D: Not easy to find, welcome to new beds. [00:04:31] Speaker B: Here goes the wheel. [00:04:45] Speaker C: Cool. Live Lady Bang. She got me rolling. Live is a great band. I'm very excited about this. [00:04:52] Speaker B: I remember you liking Live before any of us liked live. [00:04:55] Speaker C: Do you remember that you had mentioned them to me? You said, oh, I saw this band. They're called Live. I think you might like them. We bought it at a little record shop. Not the one we usually talk about, but another one in Yonkers. I loved it. I kept talking to the owner because she really liked it, too. And we always talking about, when is their next album coming out? When is the next album coming out? And the funny thing is, is that I think by the time the second album came out, that store unfortunately was closed. My wife loved them, too. Still do now. My son loves them. So it's kind of a family thing. [00:05:25] Speaker B: Sounds like it, yeah. All right, so this has Dean Deleo on it, which is interesting, too, from Stone Temple Pilot, but it should be good. Let's see. So this is live Lady Bang. Same old Same old whiskeys in my tin Same old Cinna Same old sin Same old roof on fire Same old. [00:06:04] Speaker A: Cage I'm in Same old melody Drifting through the ages I know you could save me and I think you should Come down to water's edge Come on, jump jumping with me Blow my cup. [00:06:26] Speaker D: In the morning set me free. [00:06:33] Speaker A: She got me rolling, yeah she got me she roll rolling she got me rolling. [00:06:48] Speaker B: Same old same old whiskey Same old. [00:06:51] Speaker A: Gin Same old world Same old apocalypse. [00:06:57] Speaker B: Same old look in my eye Same old stance I'm in Same old river. [00:07:03] Speaker A: Jump the goddamn livy again I know you could save me and I think you should Come down to the water's. [00:07:17] Speaker B: Edge Come on, jump in with me. [00:07:20] Speaker C: I will blow my cup in the. [00:07:23] Speaker A: Morning Set me She got me rolling yeah she got me rolling I know you got say me and I think you should Come down to the water's edge Come on, jump in with me I will fly on my cup in the morning set me free. [00:08:24] Speaker B: She got. [00:08:25] Speaker A: Me rolling, yeah she got me. [00:08:34] Speaker C: She. [00:08:34] Speaker A: Got me rolling like yeah she got me rolling she got me rolling she got me round, round she got me rolling Man. [00:08:55] Speaker B: Ye. [00:09:11] Speaker C: Good stuff. I thought that was a really good song. He sounds like Jon Bon Jovi a little bit in the beginning. [00:09:16] Speaker B: You like that, huh? [00:09:17] Speaker C: Yeah, man. It's got soul. It's got rock. [00:09:21] Speaker B: What'd you think about the drums? [00:09:23] Speaker C: You know, they are what they are slightly better, I think, in general than some of the other stuff. But I think the vibe of the song allows me to not ignore it. I'm gonna say, but have it not bother me as much. It's a strong song. What do you think, Mark? [00:09:37] Speaker B: I thought it was good. I liked it. Sounds like live. His voice is a little lower than it used to be, I think a little bit, but that's to be expected. [00:09:42] Speaker C: Frank, what'd you think that was an. [00:09:44] Speaker D: STP song sung by Ed Kalawa. I can never say his name, bro. Check. Yeah, that's what that sounded like all day long. You can hear STP influence in that, especially in the guitar playing, obviously. Really good stuff. Really good. It's kind of something you hear for like an HBO drama series. That's their theme song, kind of. I like it. [00:10:03] Speaker B: The slide was very good. He did a really good job on that. Yeah. [00:10:05] Speaker D: Which is his signature play. Right. There's Dean, Delilah's signature. The slide. Really cool. They did tour together. Not totally surprised he's here. [00:10:12] Speaker B: If you liked it or you didn't like it, hit us up on social media. Let Us know, another one in the books. Let's rubber stamp it. In a world where new music is. [00:10:22] Speaker D: Not easy to find, welcome to new bands. [00:10:37] Speaker C: Do I even bother asking what you guys are looking for? Expecting on the Big Wheel, Mark, I'm. [00:10:42] Speaker B: Going to continue on with my 90s hopeful grunge thing until it finally comes out. [00:10:48] Speaker C: Frank. [00:10:49] Speaker D: You know, after two clunkers, I'm kind of hoping we get something that we want to listen from track one to track 12. Kind of hoping maybe a little 80s metal, like, I don't know, like I said, Rose Slaves to the Grind. Or maybe an Azie. Bark at the Moon. [00:11:04] Speaker C: I keep saying, like something heavier, but like newer. Heavier. Whatever. Let's just spin. [00:11:10] Speaker B: Okay, let's spin. Here we go. [00:11:32] Speaker C: Wow. Tragic Kingdom by no Doubt. Talk about a massive album after two not so famous records, man. Yeah, I know you're a pretty big fan of this. [00:11:42] Speaker B: I like this album a lot. I know you're not the biggest fan of this, Frank. Do you like this? [00:11:45] Speaker D: I sure do. [00:11:46] Speaker B: Cool. [00:11:47] Speaker C: Let me say that I like two of the hits. I don't really know the rest of it. I don't know how Scott is. I've never been a massive fan of Scott. I don't really have experience with the rest of the stuff that wasn't released. Can't really say overall. I mean, there could be some. Some gems here. I'm like, oh, I never heard this. It's pretty cool. Cool. So, yeah, I'm looking forward to it. [00:12:03] Speaker B: This is one of my big albums from the 90s. I like this thing a lot. I think I went through a little bit of a no Doubt phase for a little bit. This album, 1995. Wow. [00:12:15] Speaker D: 95. [00:12:16] Speaker B: It's 30 years old. [00:12:18] Speaker D: Yeah. October. [00:12:19] Speaker B: Yes. Wow. From what I know about no Doubt, her brother used to be in the band. They actually had a first singer who committed suicide and then she was not the main singer and then she took over after he committed suicide. Her brother was in the band for a little bit and he helped write a lot of this, but he's not in the band at this point. He left. He had a lot to do. This record, there's big hits on this thing. Sabino knows all the hits. [00:12:45] Speaker C: That's all I know. [00:12:46] Speaker B: There's a lot of good songs on here. [00:12:48] Speaker C: I like two of the hits. Without a Doubt. Oh, I'll get it. No Doubt. I like two of the hits. [00:12:54] Speaker B: No Doubt. The producer on this is Matthew Wilder. [00:12:58] Speaker C: Huh. And who is he famous for? One of the. Not one of my favorite. One hit wonders of the 80s. What's it called? Can't Slow Me Down. Little Red Boat To China. [00:13:07] Speaker B: Break My Stride. [00:13:08] Speaker C: Break My Stride. That was. [00:13:10] Speaker B: Yeah. So you're not. [00:13:11] Speaker D: He's also Zach Wilde, Third cousin from his mother's side. [00:13:14] Speaker C: Nice. [00:13:15] Speaker D: I don't know. I just read that up, bro. Edit that out. Mark. [00:13:19] Speaker C: Son of a. You would have been my phone. A friend. And you would have gotten that wrong. [00:13:24] Speaker B: I finally get to play this drop. [00:13:26] Speaker A: Is this the documentary? [00:13:27] Speaker C: Yes. [00:13:28] Speaker A: Edit her out. [00:13:29] Speaker B: All the Kiss fans. I know what that is. Right there. [00:13:31] Speaker C: Wasn't that his only line in that whole thing? [00:13:33] Speaker B: I think so. Edit her out. This is gonna be cool. I think this is gonna be good. After two crappy albums, I think that this is gonna be a good thing. Now, we've done at least one of these songs. I think the first song we've done. [00:13:45] Speaker C: We did. [00:13:46] Speaker B: It's a big album. This is a long record. Holy. It's 5935. This is the epitome of. We have a CD and we're gonna fill it to the brim with music. 14 tracks. [00:13:58] Speaker C: This is actually their second studio album, right? [00:14:00] Speaker B: Third, actually. [00:14:01] Speaker C: Third, okay. [00:14:02] Speaker D: With Gwen Stefani. Third. [00:14:03] Speaker B: Yeah. I think they're old with her. Yeah. I mean, the other guy, he died before they. I believe. I believe he died before they actually made it big. She was kind of like the background kind of singer. She wasn't even. The main singer. No doubt is Gwen Stefani, obviously. Vocals. Tom Dumont, guitar. Tony Canal, bass. Adrian Young, drums. And Eric Stefani, piano, keyboards. There's tons of other people. Trombone, saxophone, you know. Because. A little Scottish. Well, not a little Scottish. It's Scott. There's a lot of pop in here, too. [00:14:30] Speaker C: Oh, yeah. [00:14:31] Speaker B: I'm more interested in seeing what Savino thinks about this than me and Frank. Because me and Frank like this album. We know this record. Savino really only has heard the hits, so I'm curious to see what he thinks. [00:14:39] Speaker C: I know three hits, and I like two of them. [00:14:41] Speaker B: Okay, cool. All right. So the first one is Spiderwebs. [00:15:06] Speaker A: You think that we could live that the chemistry's good. Your words walk right through my ears Presuming I like what I hear Now I'm stuck in the web you're spinning you got me for your brain. Sorry I'm not home right now. I'm walking in this. [00:15:51] Speaker C: I like this one. Catchy. Production's pretty good, so. I never had an issue with this one. [00:15:56] Speaker B: This is the song we did, right? Yeah. Yeah. I always like the song. I like the little guitar, the little pinch harmonic things he does. He supposedly, quote, unquote, was a metal guitarist before this. That's what I always heard. I think he brings as heavy as you can bring to this music. I guess there's definitely a ska underpinning. [00:16:13] Speaker C: Oh, yeah. I mean, the beginning is also. [00:16:15] Speaker B: I like the drum sound. I think the drum sounds good too. [00:16:17] Speaker C: Yeah, I like the snare sound. Very crisp. I've always liked the snare sound. [00:16:20] Speaker D: Great start to a great album. Very rarely do you hear a track that's so perfect of an opening. And this is it. And again, you hear a lot of that sky influence right off the bat. So you already know what you're getting the rest of the way. [00:16:31] Speaker B: This was a big, big, big song. I got to see where it ended up. Ended up pretty high from what I can gather. Let's see. [00:16:38] Speaker D: I don't think it was as high as we thought. [00:16:39] Speaker B: Sold a million copies. Just a single while. [00:16:42] Speaker D: Just a single? [00:16:42] Speaker B: Just a single. On pop airplay, it went to 11. On alternative airplay, it went to 5. Adult pop, it went to 29. And radio songs, it went to 18. [00:16:52] Speaker D: It wasn't as big as we thought. It was still hit, but not as big. [00:16:55] Speaker B: Well, it's not a number one. The bottom line comes down to is if you've sold a million copies of just mm. This album went diamond, which is what, 10 million. So 10 million copies. You couldn't get away from this record in 95, 96. 97. Actually, 98. This thing spanned from 95 to 98 and had seven singles. [00:17:13] Speaker C: Did it really? [00:17:14] Speaker B: Yes. [00:17:15] Speaker C: I was looking at the titles and I only recognized three, maybe four, but maybe I just didn't know the names of the songs. That's possible. [00:17:21] Speaker B: It was on the charts for a long, long time. [00:17:23] Speaker D: I knew it was on for a long time. I didn't realize. Almost three years. [00:17:26] Speaker B: Yeah. Because I think their next album came out in 2000. They took a couple of years off and it came out in 2000 with the next one. And there's a bunch of stuff on that I like to Lyrics are you think that we connect, that the chemistry is correct? Your words walk right through my ears Presuming I like what I hear and now I'm stuck in the web you're spinning you got me for your prey. Sorry I'm not home right now. I'm walking in the spiderwebs. So leave me a message and I'll call you back. A likely story, but leave a message and I'll call you back. [00:17:53] Speaker C: This became a Lot of people's voice machine message. [00:17:57] Speaker B: Well, that's how you know it's really big when stuff like that starts to happen. [00:18:00] Speaker C: Well, it's so applicable. [00:18:02] Speaker B: It does really cement it in a time frame. You don't hear that as much in people's voicemail messages anymore. You barely even hear anything. Just like Mark. [00:18:08] Speaker C: Mine is just my phone number. Exactly. [00:18:11] Speaker B: Let's continue. Here we go. [00:18:20] Speaker A: Don't have the courage inside me to tell you Please let me be Communication A telephonic invasion I'm planning my escape Sorry, I'm. Oh, right now I'm working in this battle. It's a message. Good night is go river is on your phone and it's going to be. [00:19:45] Speaker C: I always like that little part too. I like the way it goes back in. When does that kind of like that slower musically, it's interesting. There's definitely more stuff going on that I really remembered hearing it, I've never heard. I don't think I've ever heard this song at hand. I probably have, but more to learn the drum parts than anything else. But kind of hearing the. The keyboard doing some really cool stuff that I like. I've always been a fan of this song. [00:20:05] Speaker B: It was always a fun song to play. I always remember playing that pinch harmonics on the chorus. That was fun. I like the stops. The keyboards are doing cool stuff. We didn't have a keyboard player, so our version is a little more rockier because we didn't have keyboards. It's always fun to play this. Her voice is great. Everything's great. Drumming's good. I think he's a good drummer. All the things I remember, I never sat back and said, like, he sucks on drums. He's just there. I always thought he was a good drummer. [00:20:28] Speaker C: I mean, to play stuff like this, I. I don't remember. I don't remember criticizing his drumming, but obviously you got to have a little bit of funk and feel to play this kind of stuff. [00:20:36] Speaker D: Yeah, you guys nailed it all across board. The guitar playing is great. I like the drumming a lot. The vocals are just great. Just can't picture anyone else singing for the group other than Gwen Stefani. [00:20:46] Speaker B: No. She's the front person, this band. And there's a song on here that addresses that too. Now, supposedly this song is about some creeper that calls her up and recites poetry. He calls her up out of the blue. And that's what this is about. From what this says, it went to number 10 on Billboard Modern Rock and five after three weeks. I don't know who to believe. Wikipedia or this one of the two is right. Sold a million copies. It was big regardless. [00:21:09] Speaker C: Yeah, definitely. [00:21:10] Speaker B: This song has always been a fun thing and I think it went over good when we played. It was a fun song to play. It's got a little bit of rock in it. It's not all ska, so I kind of like this. I think it's a good blend of all the things together. Let me read some lyrics. So verse two is you're intruding on what's mine and you're taking up my time don't have the courage inside me to tell you please let me be Communication a telephonic invasion I'm planning my escape back to the chorus Post chorus. It's all your fault I screen my phone calls no matter who calls I got to screen my phone calls Bridges now it's gone too deep you wake me in my sleep I dream to come nightmares because you're ringing in my ears I never really figured out that this was about somebody calling her and just bothering her, but now it makes 100% sense when you read the lyrics. [00:21:53] Speaker C: I didn't know it was about a stalker. I thought it was kind of like a boyfriend or someone, you know what I mean? Just kept calling her. [00:21:58] Speaker D: Me too, maybe. Yeah, that's what I always thought it was about. It was basically some dude that won't quit and keeps calling and calling, calling and tries to be deceitful in their ways of hey, oh my God, you come here too. Kind of a thing. That's. That's by the way, part. [00:22:11] Speaker B: All right, let's continue. Here we go. [00:22:42] Speaker A: Spider will leave a message and I'll tell you where I'm walking in the spider well, leave a message and I call you back it's all your fault I scream my phone call no matter man man, no matter who comes I got to scream my phone call it's all your fault it's all your faul mil. I'm walking in the spider wheel Believe a message and I'll call you back I'm walking in the spider wheel Leave a message. [00:23:58] Speaker C: It does that little sped up thing there because I don't remember the fade out. The speed increases and then it kind of goes back to where it was. Almost like they sped up the tape for a second and then went back. [00:24:09] Speaker B: And it's definitely more Scott at the end. [00:24:11] Speaker C: Yeah, well, I mean, it kind of goes back to the very beginning. That kind of groove and horns and things. [00:24:16] Speaker B: That's obviously signatures of that stuff. I think It's a great song though. Sabina, why don't you go first? [00:24:20] Speaker C: I'll say eight on the production and seven on everything else. I mean it's interesting story. I mean knowing what it is, it's, you know what, you know what it's about and there's some interesting use of. Of lyrics and things like that. But yeah, I mean I've always been a fan of this song. I have no problem with it. [00:24:33] Speaker D: Frank, you said eight on production, seven on everything else. I'm going to go the same way. Just a great song. Love it that it was their opening track to. To the album. Love the roots to the ska. They did it really well. The vocal man again the vocal is just fantastic all the way around. Hear everything on this track. Really like it. How about you, Mark? [00:24:49] Speaker B: Me too. Sevens and eight in production. I've always liked this song. It's a fun song to play. Even though we didn't have all the extra instrumentation we. You still could take this song and strip it down and it still sounds good. So that's to me is a very big part of a good song. If you can take all the extra instruments out of it and just play it with like a four piece band and it still sounds good. It's a great song song. Her vocals are good. Old musicianship is good. It's one of my favorites. Like Frank said, a good way to start the album. Next song is Excuse me Mr. Have you heard this one? Savino? [00:25:16] Speaker C: I don't remember. There's seven singles. I remember four from what I can tell by the titles I don't remember by name. [00:25:22] Speaker B: This was a single. Two went to alternative number 17. I remember the song well obviously I remember everything on this album. I think this was a decent single for them too. This is Excuse me Mr. [00:25:37] Speaker A: Oh I'm like a beggar with no luck I'm holding thumbs up on your street corner stops like most children not to see me this ahead is not a responsibility Excuse me waiting in line and I'd like to buy some of your time I'm very anxious Ego will work your feelings please excuse me Mr. You got things all wrong make you feel like you cry so don't confuse me Mr. I know you're too long All I need is nothing of your time oh. [00:26:23] Speaker C: I remember this now the honeymoon's a bit over this is okay One thing I do remember too. I'm not always crazy about the way she sings a little bit of that Think that she does does I'm not always a fan of I Feel that the first song was a little bit more interesting. This one is kind of a bit more stocky. It's not terrible. It isn't like, oh my God, I can't listen to this. It's okay. [00:26:46] Speaker B: Yeah, I like the riff. I like this a little more on tempo. It's kind of like a punky ska mix to me. And I can understand the part about her vocal stylings, especially in this time frame. It can go a little weird and it could turn you off a little bit just because it's not a stock voice. Like, she has a very unique way of singing. So I can see how that could turn you off a little bit. Bit. I mean, I like this song a lot. [00:27:07] Speaker D: Good follow up. Not a great one. I think there's other ones that could have been better. Overall, I like it still. [00:27:11] Speaker B: Okay, that was quick for you. Going to have more to say than that. [00:27:13] Speaker D: Oh, no. Well, yeah, it was very early on in the song, so. [00:27:17] Speaker B: Here lyrics Verse one is oh, I'm like a beggar with no luck I'm holding signs up on your street corner Stops like most you try not to see me Stare straight ahead ignore the responsibility Pre chorus Excuse me, excuse me, Mr. Well, I've been waiting in line and I'd like to buy some of your time. I'm very anxious, eager, willing. What's billing? The chorus is so please excuse me Mr. You've got things all wrong you make it feel like a crime so don't confuse me Mr. I've known you too long. All I need is a little of your time. Obviously it's about her trying to get somebody's attention and him not really giving her attention. [00:27:51] Speaker C: Basically, I think, which is funny considering how it starts, how the first song is about someone giving her the wrong kind of attention and now she's looking. [00:28:00] Speaker B: For all right, let's continue. Here we go. [00:28:09] Speaker A: I'll pay there for the guarantee make space for me in the time yet to be so please excuse me, miss. You got things all wrong can make it feel like a crime I don't confuse me m to no one All I need is up in love your time what should I do? I'm about to crack and there's a force that comes over me If I'm for I'm tired for ch I'm waiting for him to rescue me. The funny thing is he not going to come. He's not going to burn me. This is a matter of fact. [00:29:26] Speaker C: I actually kind of like that little saloon style they went into piano was again like that Saloon piano, like the self playing, almost honky tonk kind of thing. Thing. That was pretty cool and inventive. I wouldn't have thought that would have gone there. [00:29:38] Speaker B: They do a lot of that kind of stuff. I had a feeling you were gonna like that. Actually, the lyrics, the one I'm reading them, they're actually not that bad. Actually. Pretty decent lyrics. It's definitely not the stock kind of thing to me. First two is oh for the most Love comes for free they don't pay the high cost of mental custody I'll pay bail for a guarantee make space for me in the time yet to be and then pre chorus and chorus. And then this is the bridge part that you like. What should I do? I'm about to crash track. There's a force that comes over me it's almost as if I'm tied to the tracks. I'm waiting for him to rescue me. The funny thing is he's not going to come. He's not going to find me. This is a matter of fact. The desire you lack this is the way I guess it has to be A little of your time I need a little of your time Please A little of your time I thought the bridge was very inventive, that it just came out of the blue like that. It makes the song a lot more interesting and not as maybe generic as it could be if that part wasn't there. It's got horns, it's got piano. I thought it was cool. [00:30:31] Speaker C: Yeah, I mean, it's full sailing. [00:30:32] Speaker D: I was trying to pinpoint it, what it was, that. What sound is that? And I've hit it. It's that saloon style, Westernish kind of can. Can maybe sound. I don't know. I don't know how to identify. Just recognize the sound. I like it. I haven't heard it in a long time too. So this is great. [00:30:45] Speaker B: So funny. I haven't heard a long time either. But I remember every song. I did play this thing out. I must have played this over and over and over and over. I wasn't really big into ska, but I like them. Does that make sense? I don't really listen to ska. [00:30:56] Speaker C: Kind of like that one record that I remember. This is one record that I bought by accident. And I listened to it. I'm like, oh, this is good. Then I looked up the band. It's like, oh, this infamous emo band. Like, oh, wow. I don't really like emo, but I really like this record. You know, Sometimes it's just the way it hits. [00:31:09] Speaker B: I Like their next couple that were okay. I mean they changed it up a little bit. Like I said, I don't like a lot of ska. I mean I like a little bit of sublime. There's a couple things I like from them. I'd say this is probably the most listened to band that I listen to in the quote unquote ska genre. I think a lot of the songs on here, they do a lot of this change up things. So maybe, you know, you might find another song you might like. Once we get past the seven singles that are on this album. Album, we'll hit what they call a deep track. I guess. I mean half the album was released. That's crazy. Out of 14 songs I released seven now. I think this set them up for pretty much the rest of their career. I would tend to think even though they probably signed a crappy Rick your contract, it probably didn't matter when you sell diamond. Other people made a lot more money than them. But they made a good amount of money. Here we go. [00:31:55] Speaker A: Like a crime so don't confuse me All I need is a little love I've been lying to my time I've been lying to my time I've been lying to you I've been lying to you Right away in line yes you mine Excuse me. [00:32:38] Speaker C: They kind of kept the piano going and layered over it. Definitely full sounding, which is cool. Even the first one. Not a lot of empty moments, which is cool. [00:32:46] Speaker B: I guess I'll go first. I mean I like the song a lot. I don't know if I like it more than spider webs, but I like it a lot. I'm going to give it Sevens across cuz I really do like this song. One of my favorites on here. Even though it's not one of the most popular out of the singles that I think. But for me it's always been really good. So I really do like it. And since I gave it Sevens, I gotta do Sevens. Nikki Titty Baby Quintuple 7 Zippity Bippity Bop Frank. [00:33:11] Speaker D: I think I'm gonna do the same thing. Sevens Across. It's very well produced vocals, the lyrics. Everything about is great. I definitely do like that break right there. That saloon sound. Always did like it. Overall I think it's a good follow up. Not a strong follow, but it's still a really good follow up to the opening track for Meat 7 Sevens. [00:33:28] Speaker B: Yeah, it's Steve and it's quintuple seven. [00:33:31] Speaker D: Nikki Titty Baby Zap. [00:33:33] Speaker C: I'll say seven on production, I'll say seven on arrangement. I mean, I do like the fact that they kind of did that thing in the middle. And I'm gonna say sixes on the rest. It's okay. It's not bad. I appreciate it more for kind of what they did. I think I probably would have enjoyed it more if it was heavier in the verses. Even if they kind of still went to that part. I think if it had a little bit more chug to it, it may have stood out a little bit more for me. It' yeah. [00:33:58] Speaker B: Well, I'm glad you liked it. I know you've heard this before, cuz it was on the radio. [00:34:01] Speaker C: I've definitely heard it before. Once it kicked in, I was like, I remember this song. I didn't hear it much. Obviously not as much as the first one or their other massive hit, which actually I turned people on to. Believe it or not, when we get to it, I was the one that told people about it. [00:34:15] Speaker B: This is just a girl. [00:34:26] Speaker A: Take this pink ribbon off my eyes I'm exposed and it's no big surprise don't you think I know exactly where I stand? This world is forcing me to hold your hand. Cause I'm just your girl a little lonely well don't let me out of your sight oh, I'm just a girl Already I'm a tea so don't let me have any. [00:35:10] Speaker C: Mark, I don't know if you remember. We did this one too. Back in the day when we played a bar, we had a female singer who just sang a few songs with us. [00:35:18] Speaker B: Oh yeah, yeah. [00:35:20] Speaker C: And I remember too, when we were doing it and knowing. Knowing what she said. I didn't know everything she said. Pretty and petite. I had no idea. There was one of the lines I said, wait, what did she say? Yeah, I'm definitely singing that wrong. I think I heard this song on Dre and then it became a big MTV hit. Catchy. The lyrics are obviously very serious. They clearly, you know what it's about. This is a song too. I've always liked this song. [00:35:45] Speaker B: I think I like this better than even Spider Webs. I like the riff. I like that it has a little phaser on the. The riff sounds pretty cool. Lyrics are good. Production is good. Can't really take anything away from this. I'm assuming this has to be the biggest one, maybe. Well, one of the biggest ones. U.S. billboard Hot 168 Modern Rock 24 well, that's the end of the year. Billboard Hot 123 Alternative Airplay 10 Pop Airplay 24 U.S. cashbox Top 117. Thought it was big. I don't know what it sold. Maybe the other one sold more than this. No, this sold 2 million singles. Yeah. [00:36:19] Speaker C: This is massive. [00:36:20] Speaker B: Is a massive song. I mean, I like everything about this song. Now, supposedly it's about her not being able to do stuff, but she wrote it because her dad got mad at her because she was coming back from the bass player's house and driving home late at night, and she's like, I'm like 30 years old. That's saying, I can't do this. I can't do that. I think it's a good female empowering song that. You know what I mean? That I can do whatever anyone else can do. So that's pretty cool. [00:36:41] Speaker D: I think this is one of their biggest, if not their second biggest, hit off of this album. For sure. [00:36:46] Speaker C: Sure. [00:36:46] Speaker D: This right here, a great segue in into the album itself. One of the better tracks. Love this track. I don't remember exactly the first time I heard it. I'm trying to jog my memory a little bit here. But I remember when I heard it, I was like, ah, this was the song that introduced me to no Doubt. Really big. Like it. [00:37:00] Speaker B: Yeah. It was their first single. [00:37:01] Speaker D: It was their first single. [00:37:03] Speaker B: Yep. [00:37:03] Speaker D: Okay. That's why I remember it. My introduction to them. [00:37:05] Speaker B: And it looks like it's saying here that I peaked at number 23 on the Hot 100. Pretty good. [00:37:09] Speaker C: I would have thought it was higher than that. [00:37:11] Speaker D: Me too. [00:37:11] Speaker B: Well, you know what? It was. I think this. The video had a lot of play. Sometimes the video had more play, and then it made more sales than actual the record at that point. Let's read a little bit of lyrics. First one is, take this pink ribbon off my eyes. I'm exposed and it's no big surprise. Don't you think I know exactly where I stand? The world is forcing me to hold your hand. Choruses. Because I'm just a girl. A little old me. Well, don't let me out of your sight. Oh, I'm just a girl. All pretty and petite. So don't let me have any rights. Oh, I've had up to here. Continue on. Here we go. [00:37:46] Speaker A: Reasons for me to run and hide? I can't do the little things I love so dear. It's all those little things that I fear. Cause I'm just a girl. I'd rather not be. Cause they won't let me drive late at night. Oh, I'm just a girl. Yes, I'm some kind of spre. But then Your eyes no, I'm just. Take up a look at me Just don't. I'm just a girl I'm just a girl in the world that's all that you let me be. [00:39:10] Speaker C: Yeah, I always was a little divided on that. Little. I kind of like it because it has a little bit of that 80s vibe to it. It's funny because thinking about the producer now, it kind of reminds me of Can't Slow Me Down. It's very funny, now that I think about it. It's fine. Like, that part's fine. That was never necessarily my favorite part of the song, honestly. But, I mean, definitely the song built around it is. But I mean, even now listening to it, it's still a good song. [00:39:38] Speaker B: Obviously, I'm not going to get a lot of ripping guitar playing from this album. That's okay. It was also the time there wasn't a lot of ripping guitar playing going on. In the mid-90s, you had some of the grunge stuff that was still around doing that in general. Guitar solos were Persona non grata at that point. Just having, like a melody line run through there. I mean, I like everything about this song. I don't know if you're a fan of music that you can say this. You don't like the song. I mean, I guess there are people who don't like the song. I can't see that it's a good song regardless of the genre that it's in. [00:40:04] Speaker C: Fun song. [00:40:05] Speaker B: Yeah. [00:40:05] Speaker C: I mean, it's a ser song, but it's fun. [00:40:07] Speaker B: Well, there's lots of fun things in it that she says, but it is a serious song, meaning that people are not letting her do things because she's a girl. Verse two Is the moment that I step outside so many reasons for me to run and hide I can't do the little things I hold so dear because all those little things that I fear Chorus. Because I'm just a girl I rather not be because they won't let me drive late at night oh, because I'm just a girl Guess some kind of freak. Because they all sit and stare with their eyes oh, I'm just a girl Take a good look at me. Not just your typical prototype type. And then there's the post chorus. Oh, I've had it up to here. Then the solo. Then, oh, am I making myself clear? And the bridges. I'm just a girl I'm just a girl in the world that's all that you'll let me be and the songs are, you know, fairly short like, the first one is 427, but these other two are in the threes. So they're not five minute songs. So they. They come in and out pretty quick. And I think that was still a thing, you know, in the 90s you couldn't have like seven minute songs. Generally you have a little more leeway, but not that much much. Or they cut it down or take parts out anyway, so what does it matter? Let's continue it. Here we go. [00:41:16] Speaker A: Oh, I'm just a girl what my destiny what I still do is making me know oh, I'm just. [00:42:08] Speaker C: Yeah, I've never heard that thing at the end. I guess it's in the single release. I mean, the song is so short. What the hell are you gonna cut out, right? [00:42:16] Speaker B: No, I don't think they cut anything out. It's only 306. Supposedly. This is the first song she wrote without her brother, so I guess they always wrote together. And this is the first song she wrote by her herself. I think she did a great job. The last course is a little different. Oh, I'm just a girl Living in captivity your rule of thumb makes me worrisome oh, I'm just a girl what's my destiny? What I've succumbed to is making me numb well, I'm just a girl My apologies what I become is so burdensome oh, I'm just a girl Lucky me, Tweedledum. There's no comparison. And then the outro was. Oh, I've had it up to. I've added up to. I've had it up to here. That was an interesting little chorus. Some interesting rhymes and words that she kind of did. That's pretty neat. Again, not stocky. Typical stuff, which I appreciate. Frank, why don't you go first? [00:42:59] Speaker D: The lyrics are great in this one. They're very. I don't want to say playful, but goes so well the way it was just arranged and everything. The music itself, awesome. Perfect for the time. And as I shared with you before, this is my introduction to the groups. I'm going to give this eights all the way across. Quintuple mark. [00:43:15] Speaker B: Gonna have to play it again because I'm giving it eights across. [00:43:18] Speaker C: Do. [00:43:20] Speaker B: I've always liked the song. I like the riff, I like the vocals, I like the melody. I think it's produced very well. This was probably my introduction to no Doubt as well, because I don't think I heard stuff prior to this. This had to be the first thing I've heard. Thought it was really great. It might be my favorite on the album, maybe Saf. [00:43:35] Speaker C: Yeah, it'll do the same. All eights. So we are out of my comfort zone here as far as the album codes from and as far as, like, what I actually remember liking. Even though I remember that second song, I don't. So some of this other stuff is going to be, I think, more deep, unless I just don't remember the song by the title. [00:43:53] Speaker B: This next one is the sixth single. It was released in 1997, two years after the album came out. And this one's called Happy Now. [00:44:15] Speaker A: You had the best but you gave her up cuz dependency might interrupt Idealistic will so hard to please Put your indecisive mind at ease. Your proms are set now there's, there's only singles. There's no looking back and this time I mean it. Are you happy now? Well, tell me you're happy now now are you happy? [00:44:52] Speaker C: I like that beginning riff, and that's about it. I don't like the melody on this one at all. I think if it followed that beginning riff, I was like, oh, I kind of like this riff. And then none of it goes with that, which is fine. I'm not saying they have to follow it. That's just kind of like a little interesting loop piece. Me personally, I'm not liking this one. [00:45:07] Speaker B: I like this one too. [00:45:09] Speaker C: Yeah, it's cool. [00:45:10] Speaker B: I've heard this album a lot. A lot, a lot, a lot could have been one of those things I maybe not liked at the beginning. The more I listened to the album, the more I like it. I do like that riff a lot. For whatever reason, he comes up with very catchy little pieces. And that's what I kind of like about his guitar playing in this band, is that he comes up with very catchy little parts, even if they're not the most complicated or the most heavy or whatever it is is. So I think whatever he brings to the band kind of helps them out a little bit. It drags them a little more into the rock side, even though maybe they don't want to go there. [00:45:37] Speaker C: Slightly. Slightly reminiscent of Ziggy Star. Cuz it's like almost waiting for that to kind of come after that, but it doesn't. Slightly reminiscent. [00:45:50] Speaker B: Hey, listen, if you can pull things out that sort of sound like other things that are not like other things, that kind of helps you. I think as long as you're not outright stealing it and just writing new lyrics to the existing song, I think it's okay. [00:46:00] Speaker D: Yeah, this, I think, might be my least favorite. If I remember it correctly, and it's okay song. It's not something I would want to listen to. Right after that, that big hit that we just heard. [00:46:09] Speaker B: Here are the lyrics. First one is, you had the best but you gave her up. Because dependency might interrupt idealistic will so hard to please Put your indecisive mind at ease. You broke the set. Now there's only singles. There's no looking back. And this time I mean it. Are you happy now? Or tell me how Are you happy now? Are you happy? I mean, I admit that the chorus is not the greatest. Greatest. I like the lyrics and the verse, actually. I mean, I do like the song, but I can see where the chorus may be a little. Not as good as some of the other stuff. [00:46:38] Speaker C: Lyrically, yeah, it's not. It's not bad. I mean, the way she says things, and that's probably my uptick. And at this point, that would probably get the best score going so far. This one, I don't remember at all for it being a single. I personally don't ever remember hearing this song. [00:46:52] Speaker B: See if they can win you over. Who knows could. All right, here we go. [00:47:00] Speaker A: Clouded shady Company, the tenderness, Hat ritual. A seldom fading ritual. You kill the pen I only want is breathing. There's no looking back this time I mean it, I'm happy now. Well, tell me how you're happy now. Are you happy? Are you happy now? How is it now? Are you happy now? Are you holding no morning on your shoulder? I won't be there no more thousand if you feel you just might want. That's too bad I'm not that easy. [00:48:28] Speaker C: That wasn't bad. I want to say that bridge, it reminded me of something. I don't know if it was schools out. No more teachers, no more books. [00:48:39] Speaker B: Similar at the beginning. Yes, 100%. Yeah, that's what I was thinking, too. I always wondered what that was now that I heard it. Yeah. 100. [00:48:47] Speaker C: How many melodies and riffs, and I don't think it's a steal. It fits with the song. It isn't something. I think it fits better with the song than the chorus does, personally. And that little guitar part is cool. I mean, it reminds me a little bit of kind of like an 80s new wave. [00:49:02] Speaker B: I think there was a little bit of influence there from the 80s on this 100. You can definitely hear it. I like the second chorus better because it's doubled. And I like. It has that little guitar octave thing that happens at the end of the chorus. Choruses, which I kind of like. On the second time around, I felt the first course was too short. I'm happy that they doubled it up the second time around. It makes it at least a little bit better. Reading her words, I almost didn't know what the she was saying. Most of this time anyway, I tell you the truth and I've heard this album a lot. I think I'd like her lyrics a lot. She's actually very good at writing lyrics. Not the typical stock lyrics you would think you would hear. Verse two is the uncertainty you had of me brought clouded Shady Co. The 10 tenderness habitual a self baiting ritual you kill the pair now only one is breathing. There's no looking back this time I mean it. Are you happy now? Oh, tell me now. Are you happy now? Are you happy? Are you happy now? How is it now? Are you happy now? Are you happy? And then Savino's Alice Cooper chorus. No more leaning on your shoulder I won't be there no more bother if you feel you just might want me that's too bad I'm not that easy. I enjoy the song. It's not as good as Just a Girl, but I enjoy it. I like the melody in this song actually, a lot. Again, I've heard this a lot. You know, if you're just listening to the first time, you haven't really heard this. I can see where this is not as catchy as maybe the other stuff. But I do like the riff and I like the little solo thing that he does. It is very 80s now. [00:50:20] Speaker D: I can't on hear it after Savino mentioned it. I hear it. [00:50:24] Speaker C: You're welcome. [00:50:25] Speaker D: Thank you for that. Yeah, you know, it's a fun little song. Her writing style is just so unique and it's fun to listen to. It's winning me over. [00:50:32] Speaker B: Lowly creeping in. Frank, you're like, oh, I do remember this song. I do like the song. [00:50:36] Speaker D: Yeah, I do remember it. [00:50:38] Speaker B: Yeah, here we go. [00:50:55] Speaker A: There's no looking back this time. I mean it. Are you happy now? Tell me how you're happy now? Are you happy? Are you happy now? How is it now? Are you happy now? Are you happy? Are you by yourself? By yourself? You got no your name. You're by yourself I'll by yourself. All by yourself. All by yourself all by yourself. No one else, no one else by yourself. [00:52:00] Speaker C: It's okay. That one's not really sticking with me. There's parts that I like, but in general, and I'm not comparing it to anything, I mean, I'm not gonna say, oh, everything has to be just a girl, whatever. My personal least favorite. [00:52:12] Speaker B: So I think it's not as good as the first three. My opinion. But I do like it a lot. I'm gonna have you go first because I know what I'm gonna do. [00:52:19] Speaker C: It's hard for me because. Because there's parts that I like, but I don't think I'd go back to it. Sometimes I think about scores we give it and saying, well, I guess it doesn't matter overall, right? I'm talking about the playlist, not to confuse people, but I'll say six on the lyrics. I'll say six on production. I hate saying this, but I'm gonna say fives on the rest. I didn't like it as much as the second song, which I gave higher scores. I kind of have to gauge it against that, I think. [00:52:46] Speaker D: Frank, you know, this song, to me, feels a little Broadwayish in a way. The whole arrangement of the song, the lyrics, everything about it. Although it did grow on me as it played along, it's still one of my favorites. I'm gonna give this. I'm gonna go ahead and give it six on the lyrics, six on the music. Production, I'm gonna give it a seven. Production sounds really good. Melody, I give that a six. Arrangement, I'm gonna give that a seven. [00:53:08] Speaker B: I'm gonna give a Lyrics a seven. Melody a six. Music a six. Arrangement a six, and production a six. I like the song a lot. I don't think it's as good as the prior songs. It's not bad by any stretch of the imagination. I kind of like it. So now we're getting a little bit into the weeds. This is the non single. This is called Different People. [00:53:47] Speaker A: Make Mine a mother can be an inspiration to a little s. To change sides Mind just with a gentle. So different. Yeah, so the same two sisters only have the parents to get love but when they do, they're inseparable. Such a blessing comes to feel. My God is full of clouds and powerful people. You got the different kind things with different ways. [00:55:01] Speaker C: Funny actually hear a little bit of that on this one. I don't know if you hear it on this one. Frank, what do you think? [00:55:07] Speaker D: Not as prevalent as the previous song, but yeah, you can hear a little bit here too. And this is a lot more shoed as Scott roots. I think so far. Not bad. Like it? [00:55:17] Speaker B: It's got a lot more reggae feel to this. And I would think more to the third wave of ska, which they are. So I like it. It's different. It's more in the ska vein than the other songs, I think. More pure, a lot more horns and stuff. Interesting. I can hear the little bit of jazz has influence in the sky too. If we sit down and listen. [00:55:33] Speaker C: Yeah, there is a little bit of that. I can't think of, like what else to do. But when you see like, you like the women dancers, that little side to side thing, that's probably what I'm thinking of. Kind of like the Chicago. [00:55:46] Speaker B: Yeah, that makes sense. Your lyrics. While things can be broken down in this world of walls, you don't have to be a famous person just to make your mark. A mother can be an inspiration to her little, little son and changed his thoughts, his mind, his life just with her gentle hum. So different yet so the same. Two sisters only have their parents to blame. It's rare that two can get along but when they do, they're inseparable. Such a blessing comes to few Pre chorus. Sky is full of clouds and my world's full of people Chorus. You got the different kinds with the different waves. It would take a lifetime to explain not one's the same, they're fine. I think I like the pre chorus Melly a lot. [00:56:23] Speaker C: Yeah, that's probably my favorite part. [00:56:24] Speaker B: It is very typical to. To the style though. [00:56:29] Speaker C: Right. Once you hear that, where are you gonna go? [00:56:32] Speaker B: All right, let's continue. Here we go. [00:57:07] Speaker A: You got the different kind with different ways and we're together. Take a lot of time to explain. I won't say oh yeah. Once in a while I be back I think about the planning and once the time I that trip on it back and think about how massive it all is and how many of us are. [00:58:23] Speaker C: That was actually my favorite part of the song right there. The solo. Personally. [00:58:27] Speaker B: Yeah, I think it's good. It's a very positive sounding song. And we get a little guitar solo, which is cool, which I don't really expect. There's gonna be a lot of it. There's pieces in here and there uses the Wawa pedal pretty good. That bridge had a little bit of a heavier thing going on. A little more distortion on guitar. That was pretty cool. This is definitely a deeper track. This is obviously not a singles if you've never heard this before. It's one of those things that you're like, not too sure, you know, do I like this? Do I not like this? Again, I guess if you're into the ska music stuff or if even if you reggae, I would kind of think you would like this too. It's very similar to that. And the bass playing is doing pretty good too. He stands out a lot more in this song. [00:59:01] Speaker C: Yeah, I do want to bring that up. I really like that. The walking kind of baseline stuff he's doing. That is pretty cool. [00:59:07] Speaker B: And in the pre chorus, she's singing it. And then she has a high part that she uses there too, which I kind of like. Verse two is he and she two different people with two separate lives. When you put the two together, you get a spectacular surprise because one can teach the other one what she doesn't know while still the other feels a place inside that they never had room to grow. And pre chorus, then chorus and the bridges. Oh, yeah. Once in a while I sit back and think about the planet and most of the time I trip on it to kick back and think about how massive it all is and how many others are on it. It's very positive. [00:59:37] Speaker D: Like we said so far, this song is closer to ska, the the 50s and 60s style SC than I think the previous songs that we heard so far. That walking bass is really signature of that. And the distorted guitar play that bringing that alternative sound is pretty much what 90s Scott pretty much was defined as. Overall, great song. [00:59:54] Speaker B: All right, let's play it out. Here we go. [00:59:57] Speaker A: I often think about the world in which I live today and different ways. So many different people, so many different kinds. So many, many, many different people. So many different. Look at me, I'm a person struggling. Look at me, I'm my own person. So many different people. So many different guys, different people. [01:01:11] Speaker C: It's funny. I'm going to make a comparison here. Scott to me is like pesto. I like the individual elements, but when you bring it together, together, I don't like the flavor. It's odd to me because I've always said to myself, I think I should like sca. I'm not really a fan of it for whatever reason. There's certain ones that I do like, certain songs and things like that, but not really a fan of this one either. [01:01:32] Speaker B: I mean, I can get that. I'm a fan of the album and I'm a fan of them. So that's probably why I like this more than I would like maybe other songs that are sca. I just appreciate this album a lot. I've listened to the whole things multiple times, so I know what I like and I. I don't like. And maybe I didn't like this at the beginning. Like, I'm not too sure I like this, but the more I listen to it, the more I kind of got the whole thing with them. I'm not saying I would go out and listen to other Scott stuff. I wouldn't do that in this situation. I kind of like it. Verse three is, I often think about the world in which I live today, of animals and plants and nature's gifts set on display. But the most amazing thing that I've seen in my time are all the different people and all their different minds. And if for some reason they skip the pre course and they just go into the course Taurus and different ways, it would take a lifetime to explain. Not one's exactly the same. So many different people. So many different kinds. So many, many, many different people. So many different. And then the outro is, look at me, I'm a person. Look at me, I'm my own person. So many different people. So many different kinds. For better or for worse, different people. I'm gonna let Savino go first because he doesn't like this one. [01:02:31] Speaker C: I'm gonna do the same as the other one. Six on the lyrics. It's kind of childlike, the lyrics. That's kind of how I interpret them almost. She's looking at the world with this, like, childlike vision. I can appreciate that. And six on the production and five on everything else. What about you, Mark? [01:02:46] Speaker B: I think I'm going to do sixes across. I do like the song. Again, it's not my most favorite on here. I've heard it enough times that I do kind of like it. And yeah, I don't think her lyrics are as good here as they are in the prior ones. I mean, they're not bad, but I don't think they're as good. And you're right, it is very childlike. I appreciate the world. I appreciate the people. I appreciate all these things. Oh, look how big the world the world is. You're right. It's a very childlike observation, Frank. [01:03:07] Speaker D: I'm with you, Mark. This is a deep cut for me as well. I really do like that. It goes back to 90s SCA. I'm getting into sixes all the way across. Not the strongest lyric writing, but still very good. Very fun song to listen to and enjoy. [01:03:19] Speaker B: The next song is hey, you. This was the seventh and final single from Tranja Kingdom. It was released on February 23, 1998. And this is the final single to feature the original keyboardist, Eric Stefani, who left them in 1995 to the Creative issues. Let's see if you like this one, Sabina. It's a little bit different. They're SC here, but they mix it up a little bit. This is hey you. [01:04:01] Speaker A: I had you with the dreams in your head. I've been so misled by your heart. I'm only waiting for your ship to come in. It watches me wait for such a long time. You're just like. [01:04:37] Speaker C: This song is very 90s. The verse reminds me of something from the 80s. I can't remember what song it is. I don't know if it's It's My Life, which is funny because they wind up covering that later on. Melody a little bit, maybe the sound of it. This one I'm not really picking up. Scott. I think this one is a little bit more straightforward for them. I could be wrong. [01:04:54] Speaker B: Yeah. I think it has a little bit of psychedelic thing going on too. A little bit. Yeah. I think this is more straightforward. There's a little bit of SC he has very little. Those right. Scott Light. Yeah. [01:05:04] Speaker C: Scott light. [01:05:05] Speaker B: It's got light. I do like it though. I'll read the verse and the chorus and I never realized what she said in the chorus. It's so funny how when you sing things and you don't know what the you're singing until you see the words, it's just ridiculous. So verse you is hey you with the wedding dress on. Made of white chiffon blowing in the wind. Well, hey you with the dreams in your head. You've been so misled by your heart's pull. Pre chorus. I know you're waiting for your ship to come in. You anxiously wait for such a long time. And the chorus is. You're just like my Ken and Barbie doll. You dress up, you play the game. You're just like my Ken and Barbie doll. Your name will never change. I kind of like that chorus. I like the way she's playing around with. You're just like Ken and Barbie. You. You play games, you're kind of Barbara, you're named. The never changes. It's interesting the way she flips that around a little bit. I do enjoy her lyrics. [01:05:51] Speaker C: I mean, lyrically she's been pretty interesting. [01:05:53] Speaker B: Oh yeah. I think she does a really good job at changing things, even writing things that are not typical for most of the stuff. I think so far on this, the. [01:06:01] Speaker D: Writing is so good. The play on words, the imagery that she paints. Is she singing along? You can hear it. I like it. I'm trying to remember. This song does remind me of something else. I just can't pinpoint it. I'm pretty sure I replay it along. You'll come to mind. [01:06:12] Speaker B: Oh, here we go. Let's continue. [01:06:37] Speaker A: My word, you're just like me. [01:07:30] Speaker C: You know, when you get the sitar and the harpsichord, you gotta give a little nod to the Beatles. [01:07:35] Speaker B: Yeah, thought they did a good job with that too. I do like the fact that they're not really using hey you in the chorus, but they're using in the verses, which is kind of cool. It's a good change. [01:07:43] Speaker D: I don't know. I really don't remember the single. And like I said, it's been so long. I don't remember this song specifically, but that means it's okay. Very 90s sound. [01:07:54] Speaker B: For sure. [01:07:54] Speaker D: Sure. It reminds me of another song from that time. I just gotta try to remember what it is. [01:07:58] Speaker B: It's very 90s. But I'm good with that though. I like this 90s tell you true. [01:08:02] Speaker C: Oh yeah. There's nothing wrong with the 90s. 90s had some great music. [01:08:06] Speaker B: Verse two is, well, hey you with the eyes full of hope. You think you can rope your desires well, hey you, you naive thing. Your patience in time will tire. I know you're thinking that your tide will roll in. How did you ever get such high hopes? And of course, versus. You're just like my Ken and Barbie doll. You dress up, you play the game. You're just like my Ken and Barbie doll. Your name will never change. You're just like my Ken and Barbie doll. In a plastic world of make believe. You're just like my Ken and Barbie doll. You know he's just gonna leave. And they do have the obligatory microphone vocal of the 90s that every song had to have or most songs had. Are you liking this better than the last one? [01:08:43] Speaker C: No. [01:08:45] Speaker B: That's funny. No, I thought you would like you better. [01:08:48] Speaker C: No, I'm not really feeling this one either. I will say this. When we went into this, I had a thing that I didn't like this record, but I also said I probably don't know a lot of it. Even though my scores have been low for the past few. Now I'm cheering for something to come where I'm not sitting here saying, oh, I'm not going to like this. I'm not. I'm actually sitting there before you start the song saying, no, I hope I like this. Like, I want to find that song that I didn't know. I'm like, oh, that's. That's a good song. Like, I didn't know this was one. And I like this. It hasn't come yet. I'm not saying it won't be because we have, like, a bunch of other songs. I'm rooting for that song now. [01:09:21] Speaker B: Now maybe you'll get it. Who knows? [01:09:23] Speaker C: Yeah, I hope I do. [01:09:25] Speaker B: All right, well, let's continue. Here we go. [01:09:29] Speaker A: Hey, you, hey you, hey you Waiting for your love to begin. Wake up, girl, you got it all wrong. You will rise but you're not going to win. Amazing. You're just like you play again. Like my K. Your name will never change. You're just like. We can fall it off. No, it's going to leave. [01:10:47] Speaker C: Gotta leave room for the sitar. I don't want to interrupt it. [01:10:51] Speaker B: I have to say, I didn't say anything about the bass player. He's doing a great job in this thing too. [01:10:55] Speaker C: He's good. [01:10:55] Speaker B: Yeah, he's very good. Tony Canal. If you didn't know who he was, good job. I'm to trying to see who they say who plays sitar. Oh, Aloke Das Gupta. [01:11:04] Speaker C: Nice. [01:11:04] Speaker B: I mean, they got lots of people on here. Trombone, saxophone, cello. The fugal horn. I don't even know what the a fugal horn is, but I'd like fugle horn name, even though if I don't know what it is. [01:11:13] Speaker D: I don't think I heard the fugal horn on this one. [01:11:15] Speaker B: Well, no, it's on the album. I don't know where it is. [01:11:17] Speaker C: Oh, okay. Yeah. [01:11:18] Speaker B: Oh, they have a lot of people playing. Well, I guess I have to go first this time, right? I like the song a lot. I don't want to give it like super high score scores because I don't think it's better than some of the other things. I'll probably say six on the lyrics, six on the melody, seven on the music, seven on arrangement, and seven on production. It's not bad. I like it a lot. I like in the 90s of it. I like that it's not a typical Scott thing going on. It's got a little psychedelic. I kind of like it. Right. [01:11:44] Speaker D: I'm gonna give lyrics an eight. They're so fun. Melody. I'm gonna give it a seven. Everything else I'll give sixes across. But the lyrics are really, really fun. Actually. Production, I'm giving up seven. Everything else, six. Seven. [01:11:56] Speaker C: I'll say six on the lyrics. I appreciate the sentiment. I'll say six on the production. I feel like this one gave me the least hold on to. So if I gave the other ones fives, I should probably give the rest of this four. I don't necessarily think it's four, but because of the Other ones. Now I'm just kind of drawing a comparison. I would say that so far, believe it or not, this is probably my least favorite so far. But I'm telling you, I'm rooting for this. I don't want to sit here going, I'm not going to like anything now at this point, I'm really saying, oh, come on. There's got to be a song other than the two big hits that we went through already that are going to appeal to me. I promise you. I'm pulling for this. [01:12:29] Speaker B: Oh, it sounds like you're pulling for it, and that's good. [01:12:31] Speaker C: Yeah, I want to like it. [01:12:32] Speaker B: That's what you want to have happen. You want to be able to say, hey, this album is not as bad as I thought it was going to be. [01:12:37] Speaker C: Just waiting for it. [01:12:39] Speaker B: Well, hopefully it comes for you, my friend. We shall see. All right, so this is called the Climb. This was written by Eric Stefani by himself. Haven't heard this in a long time. Here we go. [01:13:11] Speaker A: Step by step I come closer to reaching the top Every step must be placed so that I don't fall off Looking down to see about how much higher I am Another cool wind comes through Brushes my my skin oh, the harder I push the tension I gather my thoughts the further and further I go with look and I just might Keep on climbing A minute climb and to face a fall so I climb I can turn back now let's keep climbing into the climbing. [01:14:47] Speaker C: This kind of gives me walking in the sand vibes. The beginning, not the chorus part of that song, but the has a little bit of that 1950s chorus girl group sound to it. A little bit of what's her name too. I hear in this. It's probably just a style. Fiona Apple. I can kind of picture her doing this on piano. I like the melody in the verse, but then I feel like the pre chorus and the chorus are just all over the place. Even though I like the guitar sound, I like what he's doing on the guitar. Sometimes, you know, you hear something the first time around and it seems like it's all over the place. And then you hear it again. You're like, okay, now. It kind of settles into the ears. [01:15:22] Speaker B: I don't feel that way because I've heard the song a lot. I know that the pre chorus and the chorus to me feel like exactly what the song is called. The clock Climb feels like it's kind of climbing forward. I hear when you hear it the second time, maybe it'll make more sense that way. I remember when I heard this the first time I was a little taken aback a little bit because the chorus and pre chorus kind of get smushed together. But if you feel. If you listen to the words and what it's trying to say, it kind of almost makes sense why it feels the way it feels, maybe. I mean, he's doing a really good job with the instrumentation and the keyboards. And there's a real big 50s vibe, like you said, happening here, especially in the melody. I think the melody makes it very 50s. These. [01:15:54] Speaker D: I really do like that whole Fiona Apple reference because you could definitely hear that now. For sure. Yeah, I like it. I mean, you know, I kind of like the bluesy sense of it. The bass playing, of course. Has it been throughout the whole album has been great on this one too. [01:16:07] Speaker C: So far so good. [01:16:07] Speaker B: I like it. Lyrics. Step by step I come closer to reaching the top Every step must be placed so I don't fall off Looking down to see how much higher I am Another cool wind comes through Brushes my skin pretty Chorus or the harder I push the tension does grow I gather my thoughts and further and further I go with some luck I just might keep on climbing so better to climb than to face a fall Chorus so hide the climb I can't turn back now Must keep climbing up to the clouds so high the climb I can't turn back now Must keep climbing up to the clouds I definitely know that this is not her writing. It's definitely different writing. I personally think she writes better than he. He does, at least from everything I've heard here. [01:16:48] Speaker C: Well, this is a little bit more on the nose. [01:16:49] Speaker B: Her words are just more abstract. Sometimes she does very interesting things with rhyming, where that's not really what's going on here. I mean, I don't hate this. I think she's better at her writing, I guess, you know, she's singing it. Maybe it's easier for her to feel a certain way because she's singing her own lyrics where this is not her lyric. She's singing her brother's lyric. Let's see where it goes. This is a long song. This is a 657song. [01:17:14] Speaker A: Up my calling for the calling Give me strength for the climb I turn back now to stop the D Now keep it up I'm going to to make it I'm fully close. [01:19:09] Speaker C: I'm actually surprised they went back to the chorus. It felt like a. A big buildup. I thought they probably would have gone to something different, some kind of instrumentation maybe. I like the melody in the verse, that's my favorite part of the song. I'm not feeling the rest of the. The rest of it. Especially the chorus. Personally, I can appreciate the instrumentation. Bridge was okay. I feel badly. Like I said, I'm still pulling. We got what, seven other songs on the next side, right? [01:19:32] Speaker B: Yeah. [01:19:33] Speaker C: One of them I already know I don't like, but I've never been a fan. But we'll get to that. I've had the argument with my wife of how I can't like this song. Actually with my son too. That's for the next episode. [01:19:43] Speaker D: I never realized how theatrical their sound can be or how very broad Broadway. Like this is very Broadway, very Broadway sound. Hey, listen, I'm not a very big Broadway kind of guy in musical. It's my second favorite song that we've. [01:19:56] Speaker C: Heard so far and maybe that's it. I do picture myself kind of sitting in a theater watching a show, hearing this song. Having that scene around it would probably give it more impact. You'd be swept up in that moment when you see people performing it in some kind of scene. I can feel that. And that's actually what I was thinking. I'm at a Broadway theater watching a show and I'm liking the show and this comes on. You get wrapped up in that. But maybe because I don't have that here, it's not really gelling with so far on this side. Where does the song rest with you? [01:20:24] Speaker B: I didn't like the chorus as much the second time around. They didn't do the pre chorus, which is weird. The bridge, then they came into like, what Beatles song has that same keyboard sound thing going on at the end of that bridge? [01:20:35] Speaker C: Yeah, that do, do, do, Right? Like Strawberry Fields. [01:20:38] Speaker B: There you go. That's what I thought. Yeah, that's what it sounds like to me. That part of it obviously is not a good of a song. It's Thoroughbred Fields. I appreciate what they're trying to do. I think this is how he writes and this is more of maybe what earlier stuff was. I don't really know as much the earlier stuff. So I'm going to be talking to my ass. Mostly because he's a keyboard player and that's what he writes. She doesn't feel these lyrics as much as the stuff that she's writing. Does that make sense? I think this is my least favorite on the side, like some of the instrumentation. Like, I have to be crazy. If you're a musician, you don't go, wow, that's some interesting. That's Going on. But just because there's interesting doesn't make song the better. Tell him. Taking this so far. Let me read some lyrics. [01:21:13] Speaker C: Whoa. [01:21:13] Speaker B: Pulling myself up by a rope I better my view the only thing in sight is what I must do As I turned I could see myself falling falling, falling which in turn gave me the shrink for the climb and then back to the climb again for the chorus and the bridges. Although many failed I must now prevail with no questions I have no time to stop Onward to the top of the mountain oh, and I I can't turn back now it's so very high But I can't turn back now if I keep it up I'm going to be make it I'm so very close can't you see? Yeah. [01:21:42] Speaker C: I mean, inspirational lyrics. [01:21:44] Speaker B: Yeah. [01:21:44] Speaker C: Positive message. [01:21:46] Speaker B: Realistically, there's not very many down songs on this. Most of the stuff is positive, I think. Let's continue. We got another two something to go. It's only 354 through this, so we have another two minutes. All right, here we go. [01:22:05] Speaker A: I Getting closer Getting coming closer. [01:22:59] Speaker B: Getting. [01:22:59] Speaker A: Closer Looking back to you Looking back to you Looking back to Looking back Back to you oh, Looking back to you Looking back to you. [01:24:38] Speaker C: Sounds like a song that would end aside. Obviously, there's a lot going on. The bass was actually really good. Again, the drumming's been solid. I probably haven't talked a lot about the drums, but obviously it's been solid. He has a good groove. The end. I was just picturing Olivia Newton John singing this to John Travolta. [01:24:56] Speaker B: I like the end of this. I think that's my favorite part of the song. I just like it because even though her lyrics are very repetitive, I like the musical things that are going on behind it. I like the drum part. And there's like an offbeat thing that happened in the middle, which I liked. [01:25:07] Speaker C: The. [01:25:08] Speaker B: I thought that was the best part of the song. Tell you the truth, I thought that part was great. Frank, why don't you go first? [01:25:13] Speaker D: Definitely not digging this one. Even with the Broadway sound, I just can't get into this one like I did with the other songs. From a lyric standpoint, I'm gonna give those five music. I mean, look, the music is fun. I'm gonna go ahead and give that a six. Arrangement. Composition. Give those a six. Melody now. I'll give that a six. Seth. [01:25:32] Speaker C: I'll say a five of the lyrics as well. I mean, they're not bad, but they're very repetitive. Melody. I'm gonna Say a four. I mean, especially the chorus. I really didn't like where the chorus went. Production is fine. I'll say six. I'll say six. On arrangement as well. I'll throw that orchestration into the arrangement part of it. Music. I'll say five. What are you gonna give it? [01:25:51] Speaker B: I'm gonna give five. On the lyrics. The melody is very reminiscent of lots of other things. Maybe that's why I just feel like I'm listening to a different song. I'm gonna give it seven on the music because I think there's some interesting musical things that go on. Even though I don't like the song as well much. Arrangement, 6. Production, 6. I think production's been great all through. And I know we haven't talked about the drumming a lot and the bass player has been great all the way through. It's a lot front loaded this side. It's really front loaded for me. When it starts to get to the climb, I mean, I liked hey you Different People. I'm indifferent about it was okay. I didn't give it horrible scores, but it's not my most favorite. And I think, you know, on the second side, we're gonna see some other stuff that hopefully you're gonna get that song that you're gonna be like, oh, this is gonna turn me around on the album. [01:26:30] Speaker C: Like I said, I want. I definitely have not heard this whole album. So I came into this saying, okay, yeah, you may have some preconceived notions, but you don't really know. It's not grabbing me. I am waiting kind of for that thing to grab me the way those other two songs did. I mean, I've always liked Spiderwebs and Just a Girl. And I feel I haven't had anything else like that to kind of pull me in where I was like, oh, I didn't never do this song, but I like it. We got seven more songs to go. Well, let's say six more songs to go that I don't necessarily remember from the second insides. I'm looking forward to it because again, I want that song. I'm like, okay, yeah. Here's another song I've never heard before from them, and I like it. I mean, Mark, overall, you liking it as much less more. What do you think? [01:27:10] Speaker B: Yeah, I still think I like the album overall. I think it's good. There are songs I like better than others. I thought I'd like to climb more than I did. Now I just think the chorus is a little sloppy and that's really all I have to say, I mean, I like the actual musicianship in there as far as everything else goes. It's a little rough to get through. And I think it's more because. Because of him than anything else. Just the way he writes. This has been good. This is one of my big albums from the 90s. I played this thing to death in the 90s. I do like them in general. Like stuff that comes after this too, even though it changes up a little bit. I don't know if we ever get that stuff, but I'm glad we got this. I thought this was good. I know you weren't a super fan of this, so I was just interested to hear what you thought about it as you listen to it. [01:27:46] Speaker C: Hey, you didn't get your grunge, but you definitely got your 90s, right? [01:27:49] Speaker B: I didn't get grunge, but I got 90s. So I guess it kind of gave me a little bit of. Of a bow in the wheel. All right, why don't you do your thing? [01:27:54] Speaker C: We are part of the Deep Dive podcast network again, like I always say, great bunch of guys took us in right away. If you want individual podcast, band, podcast, check them out. You got Zeppelin, Queen, Tom Petty, you name it, it's probably on there. So definitely check them out. And Mark, where can they find us. [01:28:07] Speaker B: On the interwebs Rock with that pod and all the social media. Rockwell podcast.com. look at the polls, buy merch, submitting new bets, put us on your auto downloads, give us a five star rating wherever you rate your podcast because that helps get us out there, share out our episodes to people you might think might like what we do. This week. We get to do seven more songs, long album. And hopefully Sav gets the one song he's been waiting for. We'll see. [01:28:30] Speaker C: Let's do this. Come on, Gwen. [01:28:33] Speaker B: All right, we will see you next week. [01:28:34] Speaker C: Chow night. [01:28:36] Speaker B: Later. [01:28:43] Speaker A: It.